Applying Freud's Theory of the Self

In this post I will be applying Freud's Theory of the Self (including his concepts of the Id, Ego, and Superego) to a sequence from Edgar Wright's Baby Driver (2017) to demonstrate how Freud's ideas can be used to influence character archetypes in film.

In this scene, the participants of a bank heist, which was shown in the introduction to the film, gather at a meeting place and discuss the previous events. During the scene, Griff (John Bernthal) takes issue with Baby's (Ansel Elgort) quiet demeanour, questioning Doc (Kevin Spacey) about being part of the crew and taunting Baby both psychically and psychologically. While, this scene is not directly based on the dynamic between Freud's id, ego, and superego, the characters can be linked to these archetypes due to the way they are written in this scene.

Similarities can be drawn between Griff's character and the id. According to Freud, the id is the part of the self concerned with primal urges and acting based on emotions. Griff fits this description somewhat as Baby's participation in the heist offends him, whether because he thinks Baby is "retarded" or because "he thinks he's better than us", and so he expresses this in the form of aggression and taunting towards Baby.

On the other hand, Doc defends Baby's involvement, but in a demeanour that is entirely devoid of emotion. He answers Griff's taunting questions with calm, logical responses. This is best demonstrated when Griff asks "Doc, is he retarded?" and Doc responds with a rhetorical question "Retarded means slow. Was he slow?" which is a play on words as Baby is an adept getaway driver. In this way, Doc takes after the superego in this scene, countering Griff's id with a voice of reason. Furthermore, in the context of the whole plot, Doc serves as a figure of influence to Baby - albeit a bad one.

Lastly, Baby can be interpreted as an analogue of the ego from Freud's Theory of the Self as, within the context of the argument, he is placed between Doc's superego and Griff's id. He is also compromising in his resistance to Griff's antagonism by standing up to him passively instead of returning the aggression and starting an argument. This is best shown by when, after having his sunglasses taken by Griff, Baby simply replaces them with a different pair from his pocket. Therefore, standing his ground while also avoiding confrontation.

This plays into the conflict Baby faces as part of his character arc in the film; being involved in the front line of criminal activity while sticking to his moral code. Along with his budding relationship with Debora, this forces him to live a double life. He wants to escape the violent crime world, but is given little choice by Doc's influence.

Bibliography:

• Baby Driver. 2017. [film] Directed by E. Wright. United States: TriStar Pictures, Sony Pictures.